S+ART

Roads of Arabia Dazzles at the Sackler

Funerary mask, Thaj, Tell al-Zayer, Saudi Arabia, 1st century CE, Gold. H x W: 17.5 x 13 cm. National Museum, Riyadh.

Few archaeological discoveries in recent years have so radically transformed the understanding of a region as have the objects on view in the Sackler Gallery’s exhibition Roads of Arabia. Mysterious stone steles, monumental human statues, haunting gold masks and finely forged bronze figures testify to Arabia’s largely unknown and remarkable history before the rise of Islam in the seventh century CE.

The exhibition’s earliest objects are anthropomorphic steles, or vertical slabs of stone used for commemorative purposes. They are among the earliest known objects from the Arabian Peninsula. Neolithic bladelets, arrowheads, bifaces, and scrapers testify to the technology that was in use even thousands of years ago.

This is just a glimpse into the wealth of fascinating and revealing artifacts on display at roads of Arabia. Come unearth the rest!

-Jen Schiller

The Sculptural Vase

A Smithsonian Associates Studio Arts Course

A student finishes the interior of her vase. Photograph by Jen Schiller.

 

Over the millennia, ceramic vases have served various purposes, depending on the culture. Some cultures used them only for utilitarian purposes, others for religious rites; and others as objects of beauty. For example, the Greek, Syrian, and Turkish cultures adapted their architectural traditions into vases. From the heads of gods to fully carved figures, these vases reflected a departure from the traditional ceramic vases decorated with painted brushwork decoration. In The Sculptural Vase, an 8-session course, students have the opportunity to create their own unique ceramic vase.

Sculptural Vase docent works on her project. Photograph by Jen Schiller.

I sat in on Tuesday’s session with Instructor Alfredo Ratinoff. He kicked off the class by bringing out color samples students had made the previous week. Color samples display how finish coats, layering, and the glazing process react to the kiln’s heat, allowing students to get a preview before committing to their entire project. For instance, Cobalt will appear dry blue by itself but becomes vivid blue with a top coat.  “The objective is to look at the variations you get with different materials,” says Ratinoff.

This student's vase will double as a garlic holder. Photograph by Jen Schiller.

"If you don't have samples, you don't have a good piece," he says. “Certain colors change drastically in temperatures of 2200 degrees. Samples remove the guesswork.” He also points out that the real kiln (a 12-hour process) gives a better glaze than the test kiln (2 hours) used for color samples. He compares the different outcomes to microwaving versus slow simmering a meal: The result is a much richer, more vibrant color.

 

-Jen Schiller

Dark Matters: Muek’s Big Man

Australian born sculptor Ron Muek’s style is described as hyperrealist, and that is no exaggeration.

Close-up of Untitled (Big Man). 2000. Pigmented polyester resin on fiberglass. Ron Mueck (Australian, b. Melbourne). Photograph by Jen Schiller.

His early work included model making and puppeteering for children’s television and films, notably the film Labyrinth. Mueck moved on to establish his own company in London, making photo-realistic props and animatronics for the advertising industry. Although highly detailed, these props were usually designed to be photographed from one specific angle hiding the mess of construction seen from the other side. Mueck increasingly wanted to produce realistic sculptures which looked perfect from all angles.

Untitled (Big Man). 2000. Pigmented polyester resin on fiberglass. Ron Mueck (Australian, b. Melbourne). Photograph by Jen Schiller.

In 1996 Mueck transitioned to fine art. His sculptures faithfully reproduce the minute detail of the human body but play with scale to produce disconcertingly jarring visual images. Currently on display at the Hirshhorn is Untitled (Big Man) – a giant, hairless, naked man crouched in the fetal position in the corner of the gallery. The piece is undeniably the most noticeable in the room, causing visitors to stop in their tracks and revel in the hyperrealism of every detail, from the translucent flesh to the cracked toenails. The artist uses pigmented polyester resin on fiberglass to achieve a realism that is grotesque and unsettling and purposefully so. As part of the show Dark Matters, Big Man relates to the solitude, threat, and emptiness of darkness. We naturally fear darkness as we fear loneliness, rejection, and violence. Big Man possesses all of these unnerving elements. His humanoid appearance, intimidating size, and dejected posture conjure up mixed feelings of empathy and fear; the viewer cannot help but ponder his or her own perceptions of beauty and acceptance.  

 

-Jen Schiller

 

A Re-Introduction to Watercolor

Instructor Daniels (Right) discusses student work. Photograph by Jen Schiller.

Instructor David Daniels of the Smithsonian Associates' Introduction to Watercolor class proves art is a never ending learning process. His mastery of watercolor allows students to gain new insight from each class section and build upon their knowledge. Daniels started the class with a review of student work from the previous week, making suggestions and commentary. Students approached their assignments differently; some displayed skill in photorealistic reproductions of their original photographs while others transformed landscapes into abstract, surreal interpretations.

Student Jonathon Paul creates photorealism with watercolor. Photograph by Jen Schiller.

 

 I never fail to learn something when I sit in on one of Daniels’ studio sessions. For instance, he advises students to steer clear of fugitive, or non-lightfast, hues. Students may find that these pigments disappear from their paintings in anywhere from 50-70 years thanks to UV damage. How can one circumvent this dilemma? By using glass or varnish with UV protection (however these can get expensive). The cheaper alternative: avoid red or pink, the most common victims.

 

Another tricky thing about watercolor is value, and that’s not how much your painting is worth – it’s the amount of light or dark in a particular pigment. Understanding value can improve the intensity and composition of your paintings. How can you affect value? To lighten a pigment you add water (allowing more light to pass through), and to darken it you can add a neutral tint, a compliment, or black. Color theory holds that neutral color contains no color, so adding more of it takes away the white paper’s ability to shine through, hence, darkening value.

 

-Jen Schiller

Related articles

Review: Introduction to Watercolor

AirCraft: The Jet as Art

Maryland One. Jeffrey Milstein

Photographer Jeffrey Milstein has been interested in aircrafts since childhood. He began studying jets from his backyard near LAX and built a telescope from cardboard tubes and cheap lenses to identify them. As a teenager he filmed aircraft with an 8mm camera at the Santa Monica airport, and developed his current style.

    Milstein captures the beauty of modern flight by standing at the end of a runway and snapping the jets moments before landing. He waits for perfect conditions – preferably late afternoon on a sunny but hazy day when the light reflects off the ocean onto the bottom of the plane. He uses a high resolution digital camera to capture pristine clarity at speeds of 175mph, and then distills the subject from the background to highlight design, color and symmetry. He enlarges some of his subjects to mural size, showcasing grand detail, while displaying others in typology format similar to that used for scientific butterfly studies. The colorful winged forms, simplistically displayed against a white background, start to take on the form of birds or insects. By isolating his subject, Milstein forces the viewer to revel in the aesthetic beauty of a common object many view as simply utilitarian, and reminds me of photographer Leland Bryant's desire to see the beauty in the ordinary. This is what artists are so good at doing, and their ability to make the public stop and see something differently – even for a minute – continues to impress.

Milstein’s show departs Nov 25. Don't miss the flight!

-Jen Schiller

Inuit Art at the Ripley Center

The Smithsonian’s Ripley Center holds 3 exhibitions exploring the fascinating art, culture, and environment of the Inuit people. The exhibits have been to over a dozen countries and feature different artists from the relatively unknown Arctic region.

Map of Maritime Far Northeast Ecosystem. Photograph by Jen Schiller.

From Kingait to Ulukhaktok: The Artist as Cultural Historian:
In this exhibit, Inuit artists continue the oral tradition of the past through graphic art. Three printmaking communities in the Canadian arctic recall historic themes of the challenge of the hunt, the intuition of humans and animals, and the importance of humor in meeting life's obstacles. They also illustrate modern topics, like the transition from shamanistic practice to the adoption of Christianity, and from nomadic hunting camps to established settlements. Inuit graphic artists play a key role in northern communities and have earned the respect of international audiences.

Stretching Kamiks, 1987. Lithograph, 27/50. Printed by Pitseolak Niviaqsi (b. 1947). Photograph by Jen Schiller.

Maine to Greenland: Exploring the Eastern Inuit World:
This photography exhibit explores the Maritime Far Northeast, one of world’s least known regions. Due to climate change, the world is turning north to look for examples of sustainability that can be brought back to the developed world. The sensitive northern ecosystem responds early to temperature changes, and demands quick adaptation from its inhabitants. As scientists seek solutions to climate change and sustainable lifestyles, the once ignored arctic will take center stage.

Artisan Johannes Monch working on a soapstone carving at the Sisimiut Workshop of Arts, 2007. Wilfred E. Richard (1940 - ). Sisimiut. Qeqqata District, Greenland. Photograph by Jen Schiller.

 

Culture on cloth
This collection of wall hangings, created by women of the Canadian Qamanittuaq/Baker Lake region, documents the transition from nomadic hunter/gatherer to settler life. Changes in caribou migration and a growing population led to starvation in the mid-20th century, causing the government to set up permanent settlements, health care, and eventually education for the Inuit people. The artists in this exhibit use traditional caribou or bird bone needles and sinew threads to tell the story of a relationship to the land that is quickly fading into the past. Five of these artists are now deceased.  

Polar Bear Hunt. Mary Yuusipik (b. 1936). Qamanittuaq/Baker Lake, Nunavut, Canada. Embroidery thread on duffel. Photograph by Jen Schiller.

Check out the exhibits at the Ripley Center, Concourse Sublevel 3, through December 2, 2012.

-Jen Schiller

Review: Introduction to Watercolor

                               A Smithsonian Associates Studio Arts Course

Blending and scotch tape demonstrations by David Daniels. Photo by Jen Schiller.

The Smithsonian Associate’s Introduction to Watercolor class met for the second time this week. Instructor David Daniels, a renowned watercolor painter and teacher known in the art world as Mr. Watercolor, fascinated students with demonstrations of his distinctive techniques. While he has painted for more than 30 years, Daniels continues to experiment with the medium, resulting in works that capture the eye and are unlike any watercolor you have seen.  “That’s what drew me to this class, and to this instructor in particular,” said student Liz Bumgarner. “His work is not as conservative as typical watercolor painters – it is more complex, brighter, and more colorful. He is more imaginative.” Bumgarner is a photographer who says she always took pictures because she “couldn’t draw”. The beauty of watercolor is that it allows people with varying skills to create aesthetically pleasing artwork with form and color rather than line.  

Mingled (wet on wet) blending demonstration. David Daniels. Photo by Jen Schiller.

Daniels’ students come from a wide range of skill levels, backgrounds, and professions – from photographers to lawyers to retirees. His easygoing teaching style was encouraging yet helpful in this environment; he supported students’ individual visions yet didn’t hesitate to suggest more effective ways in reaching these goals. He kicked off the class with a review of assignments from the previous week, then gave a brief talk on different mixing techniques (flat, graded, and mingled) and their outcomes, then instructed students on creating a glaze chart. Glaze charts are valuable tools in understanding how hues will look and dry in your painting before you commit. By making strips of every color in your palette and painting various colors on top you can see how the colors interact and have a “cheat sheet” for future paintings, sparing you time and supplies. Watercolor involves more chemistry than other painting styles because density and chemical makeup affects how the colors run, bleed and blend.  

Watercolor glaze chart. David Daniels. Photo by Jen Schiller.

“I’ve given lectures around the world,” said Daniels. “And I always say, I can teach you how to draw pretty well and I can teach you how to paint pretty well. But what I can’t give you is that spark of curiosity that causes you to ask, how do I push my painting further?” If there’s one thing in particular I took away from this class, it was the motivation to pursue that spark, to keep pushing my work further.

 

Introduction to Watercolor takes place every Monday from 10:15-12:45 from October 15 – December 10, 2012.

 

-Jen Schiller

 

 

  

 

Upcoming Class: The Era of Modernism Begins

Luscious Invention, Mixed Media. Peter Karp. Permission granted by the artist.

In light of The Smithsonian Associate’s upcoming seminar/workshop The Era of Modernism Begins: From Abstraction to Collage, I got in touch with art historian Aneta Georgievska-Shine and artist Peter Karp, who will be leading the all-day event, to discuss their backgrounds and their relative program activities.   

An interview with Art Historian Aneta Georgievska-Shine

Q: Ms. Georgievska-Shine, You are leading a class this November that addresses the Modernist movement of the early 20th century. What can participants expect from this class?

Participants can expect to get a sense of the important developments in the visual arts that happened in different European cities in the first decade of the twentieth century. 2012 is the centennial of a particularly significant year in this regard, so it is an appropriate time to reflect on and appreciate these events. 

Q: The Modernist movement happened almost simultaneously in a variety of cities across Europe. What were the common sources of inspiration?

One cannot provide a definitive answer, but there was a sense of crisis and a feeling that the world was going through rather dramatic changes. Why did artists strive to completely break from tradition and replace it with something new? What were people looking for? These are some of the questions we shall be addressing.

Q: What were the movements that led to the birth of Modernism?

The second half of the 19^th century was crucial in general, with Impressionism and the various forms of Post-Impressionism, particularly Symbolism.

Q: You are fascinated with the Moderns, from music to painting to their contribution to other arts. What is it about this era that fascinates you?

The radical departure from convention definitely fascinates me – the rejection of the tradition of Western painting, which had always been oriented toward an ideal. Modernists believed that art was not about beauty, but about capturing the essence of the world. Suddenly they were using different materials like newspaper and throwing conventional academic, representational standards out the window… destroying all hierarchies and preconceptions.

Q: Does the movement continue to influence art – even today?

Modernists had a lasting impact in that they opened the field for a variety of possible expressions. In some ways, the “anything goes” ethos of contemporary art is a direct result of their radical embrace of the new.

Q: You use the term “musical painting.” Can you explain?

It’s a mode of painting that tried to be as abstract as music was abstract, starting around 1910. Artists who aimed to create this kind of painting focused on its fundamental instruments: light, line, and color. Kandinski was one of the crucial figures, Kupka was another.

Q: How did you get into art history?

By loving art.

Q: Are you an artist?

I cannot deny that; loving art usually means that one also tries to make art (at least at some point in one’s life).

Q: Who is your favorite Modernist?

Oh, that’s a hard one. There are so many good artists who were working at the same time, so I really cannot have a favorite. That’s the beauty of Modernism.

An Interview with renowned local artist Peter Karp

 

Q: Mr. Karp, What can participants expect for the workshop portion? 

 

An opportunity to experiment and explore new ways of artistic expression. Hopefully, participants will bring their own expectations and discover their creative talents.

 

Q: What tips would you give to someone who has never collaged?

 

Don’t wait for inspiration, start somewhere. Keep it simple, one good idea goes a long way. Don’t be afraid to “steal”.

 

Q: Your work is evocative of early 20^th century Modernism, such as Cubism and Dada. Why does this style intrigue you?

 

Dada has probably had the greatest influence on contemporary art of any avant-garde movement so I think it is virtually impossible to ignore. But it’s also in my blood. Having grown up in Berlin during and after WWII, it was natural to embrace its challenge of traditional values and revolutionary approach to making art.

 

Q: Your use of black and white is distinctive and intriguing. Why do you largely stay within the grayscale?

 

Gray is of interest to me because it signals ambiguity, and ambiguity is conducive to conversation. And much of my work is about inviting speculation and conversation.

 

Q: Many of your works blend exquisite (and sometimes contradictory) human forms, geometric shapes, and nature scenes. What’s the significance?

 

The significance emerges, hopefully, in the mind of the viewer as he/she looks at my work. Some of my pieces have an underlying narrative, others don’t. And the logic, if there is any, is the logic of dreams.  

 

Q: What’s your favorite piece?

 

The title is “Luscious Invention”, borrowed from a Steely Dan tune. It is a very quiet, dreamlike construction, now in the possession of a dear friend who bought it from the wall of my house. I still miss it, but get to see it when we have dinner at their house.

 

Q: Do you have a specific process that you go through while creating your work?

I call it “systematic coincidence”. I rarely begin with a pre-conceived notion of the final product, but often with an image or object of interest to me. It’s a  process of creating/juxtaposing images and objects, without the filter of reason. I often work on several projects at the same time, with carry-over of ideas from one project to the other.

 

Q: Have you always worked with collage?

 

Actually, not at all. My first art classes at the Corcoran were in portrait drawing and painting, which I still enjoy. My interest in collage and assemblage began in 2005 when I was invited to contribute ten portraits of soldiers who had died in Iraq and Afghanistan, called “Faces of the Fallen”.  Photography also plays an important role in my work.

 

Q: What’s the most difficult thing about being an artist?

 

Getting started, and knowing when a piece is finished.

 

Q: Do you have a golden rule for art?

 

It’s never good enough.

 

For more information on Peter Karp’s work, contact Studio Gallery.

The Era of Modernism Begins: From Abstraction to Collage takes place Saturday, November 17 from 10am – 4pm. Don’t miss out on creating your own personal collage!

 

-Jen Schiller

 

First Impression: Figure Drawing Course

Male nude, c.1917-1920. John Singer Sargent (1856-1925). Photograph by G. Dallorto. Source: Wikimedia Commons.

Figure Drawing and Independent Projects, an 8-session course held by The Smithsonian Associates, began on Sunday. Artist Max-Karl Winkler is the instructor, who has taught studio arts courses since 1968 and whose illustrations have been published by the likes of The Washington Post. This month marks his 25^th anniversary of working with The Smithsonian Associates.

Artists from every experience level trickled in, set up their easels, donned their smocks and readied their charcoals. The instructor blanketed the model’s platform and angled the studio lights, and the model took his position on the pedestal. Jiri Stavovcik is one of the best models this side of the Mississippi, Winkler voiced. I was convinced as soon as he seemed to come alive under the dramatic lighting, his pose intense and purposeful from fingertip to facial expression to toe. At first, keeping up with the short pose intervals was stressful – It was as if my hand was racing the clock. But the 3 minute, 2 minute and 30-second intervals were strategic in getting the students to loosen up and capture gesture and form. This is always the hardest part about drawing for me – breaking loose from inhibition and perfectionism, my inner nagging voice. The exercise allowed my body to take over, to “feel” the figure rather than see it, and prepared me for the longer poses.

Next the instructor requested specific poses of the model for the 25 minute sets: an inclined standing pose, an upright seated pose, and finally a sideways fetal position. As students sketched, he would circle the room giving tips and occasional commentary. Beginning drawers had the option to step outside and hear a more in-depth talk on proportions and anatomy. Three hours passed by in no time, and I already sense an improvement in my figure drawing skills. But there is still so much to learn and the next 7 weeks will provide invaluable practice.

The course is held every Sunday, 1-4 pm from October 14-December 16, 2012.

 

-Jen Schiller

Open Studio Fridays at the National Portrait Gallery

Open Studio sign. Photograph by Jen Schiller.

One of the most relaxed, convenient, and fun ways to connect with art at the Smithsonian is the Open Studio Fridays at the National Portrait Gallery. The free event takes place every Friday from 1-4pm and gives museum goers the opportunity to make art without the pressures of registrations, deadlines, or supplies expense. The experimental, low-key environment enhances the public’s interaction with the museum and allows anyone to become an artist. Participants can create a lasting artwork with as little or as much instruction as they desire, while they relax and spend quality family time.

I sat in on this week’s session and was delighted with the enthusiasm of the participants and the popularity of the event. Multiple families participated, including children ages 3-12, and the easygoing and encouraging atmosphere persuaded even the kids and parents most hesitant about “becoming an artist” to pick up an oil pastel and try their hand at it. Understandably, it is easy to appreciate the work of great artists but nerve-racking to reverse the role and produce one’s own work, especially if you have grown up believing you are not an artist. One young boy proclaimed he was “not a very good artist,” and I watched as the instructor gently and successfully changed his mind: “Do you play a sport?” she asked him. “Drawing is not magic. It’s the same as practicing a sport. Some people just need a lot less practice, which makes it look like magic.” The boy relaxed, and eventually the tables quieted as the children – and parents – released their inhibitions and became absorbed by their work.

Dry media supplied for class. Photograph by Jen Schiller.

Because the artists rotate in leading the program each week, participants can expect different materials and teaching styles to ensure a new experience. Today artist Holly Solano, an NPG Weekend Gallery Educator, favored charcoal and oil pastel. The familiar medium’s pliability and sharp contrast was a hit with the children, who also learned about new tools like the tortillon or “blender,” a stick of rolled paper used to soften harsh lines. Even toddlers enjoyed the experience of line making with charcoal on “toothed” paper. 

“Kids and adults get shy about art,” said NPG Youth & Family Program Coordinator Geri Provost Lyons. “But this program is a great way for them to think outside the box and do things that they wouldn’t normally do.”

Open Studio Fridays at the National Portrait Gallery is not just about making portraits (while the plentiful hand mirrors allow for this).  I recommend everyone take a moment out of their busy schedules to relax, express themselves, and enjoy the many benefits of art offered by Open Studio Friday this upcoming week.

Open Studio Fridays repeats most Fridays through December 21^st at the Education Center, Room E151.

Check out more fun and free drop-in events like the Portrait Story Days on Saturday and Sunday.

-Jen Schiller